Kettlebells in Soviet movies . Гири в Советском кино


This is a part of the movie about the famous Russian wrestler and circus actor Ivan Poddubny. He used different weights in his training and circus shows.
Ivan Maximovich Poddubny also spelled Piddubny (Russian: Ива́н Максимович Подду́бный; Ukrainian: Іва́н Максимович Підду́бний; October 8, 1871 — August 8, 1949) was a Russian Empire and Soviet wrestler of Ukrainian Cossack descent. He began his sports career around 1900 and his career lasted for about forty years.

Poddubny was born into a Zaporozhian Cossacks family in the village of Krasenivka, Zolotonosha Uyezd, Poltava Governorate (now in Chornobay Raion of Cherkasy Oblast, Ukraine). As a young man, Poddubny worked as a fitter in the ports of Sevastopol and Feodosiya for seven years, and in 1898 he started traveling with circus tours.

In November 1939, he was given the title of Honored Artist of the RSFSR, and in 1945 that of Honored Master of Sports.

During the Nazi German occupation, he refused to leave the Soviet Union to train German wrestlers.
Piddubny maintained a lifelong professional rivalry with wrestler Stanislaus Zbyszko. He died undefeated on August 8, 1949, in the town of Yeysk, in the Kuban region in Southern Russia.
A short fragment from the old Soviet movie called «World Champion» (1954) about a wrestler, who trained to become a World Champion. He uses kettlebells as a main tool in his circuit training and GPP.
Фрагмент Советского фильма «Чемпион Мира» (1954 год) о жизни борца. В этом фрагменте главный герой фильма тренируется, используя гири. Как известно, гири были любимым спортивным снарядом спортсменов, специализирующихся не только в поднятии тяжестей.

Kettlebells in old good Soviet movies. Funny moment about difficulties in adopting teenagers to the professional sport — super funny!

Фрагмент фильма «Семь нянек», где главные герои используют гирю 24 кг для утренних упражнений. Советская спортивная школа была одна из самых сильных в Мире, а пропаганда здорового образа жизни была всегда приоритетной темой в советском кинематографе, каким бы наивным он ни казался сейчас по прошествии стольких лет.


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